Publicação

Dissertação sobre ausência : o gesto escultórico de remover matéria

Detalhes bibliográficos
Resumo:	This dissertation regards the concept of "absence" in relation to the sculptural act of removing material and the idea of the “symptom” as a physical expression of something that is not visible. I will use Georges Didi-Huberman´s text Ce que nous voyons, ce qui nous regarde [What we see, what looks at us], to consider symptoms as signifiers of the conditions that affect a subject or space. I will approach the idea of “absence” from two angles: as a sculptural gesture that creates a physical void or lacerates a form and as a subject that is lacking something vital to themselves. The former I will investigate through the work of artist Barbara Hepworth, in an attempt to identify the relationship between presence and absence in her work, thereby creating a guide to understand contemporary direct carving. The latter aspect of absence I will consider through the writings of cultural theorists Georges Didi Huberman, Maurice Merleau-Ponty, Michael Fried and Gilles Deleuze and psychoanalyst Sigmund Freud. These theorists provide the basis to delineate absence as an expression and symptom of a psychological state. This reading of the psychological significance of gestures that open empty space in a sculptural body provides a method of decoding the formal choice sculptors make to remove material. My goal in this piece of writing is to elucidate the connections between direct carving, absence and psychological states, through the theoretical approach of the above authors and the artistic production of Barbara Hepworth. Through this investigation I hope to enable a better understanding of the interplay between these subjects and the theoretical relevance of direct carving in art. In this text I consider how to read the psychological manifestations that occur in the sculptor's spaces of action, and how they integrate into critical debate about construction processes in art.
Autores principais:	Mere, Christiano Correa Antunes
Assunto:	Merleau-Ponty, Maurice, 1908-1961 Joyce, James, 1882-1941 Hepworth, Barbara, 1903-1975 Mere, Christiano, 1983- Bataille, Georges, 1897-1962 Ausência Escultura Vazio Invisível Sintoma Forma Expressão Espaço Objecto Ritornelo Imitação (Arte) Talhe
Ano:	2019
País:	Portugal
Tipo de documento:	dissertação de mestrado
Tipo de acesso:	acesso aberto
Instituição associada:	Universidade de Lisboa
Idioma:	português
Origem:	Repositório da Universidade de Lisboa

Descrição
Resumo:	This dissertation regards the concept of "absence" in relation to the sculptural act of removing material and the idea of the “symptom” as a physical expression of something that is not visible. I will use Georges Didi-Huberman´s text Ce que nous voyons, ce qui nous regarde [What we see, what looks at us], to consider symptoms as signifiers of the conditions that affect a subject or space. I will approach the idea of “absence” from two angles: as a sculptural gesture that creates a physical void or lacerates a form and as a subject that is lacking something vital to themselves. The former I will investigate through the work of artist Barbara Hepworth, in an attempt to identify the relationship between presence and absence in her work, thereby creating a guide to understand contemporary direct carving. The latter aspect of absence I will consider through the writings of cultural theorists Georges Didi Huberman, Maurice Merleau-Ponty, Michael Fried and Gilles Deleuze and psychoanalyst Sigmund Freud. These theorists provide the basis to delineate absence as an expression and symptom of a psychological state. This reading of the psychological significance of gestures that open empty space in a sculptural body provides a method of decoding the formal choice sculptors make to remove material. My goal in this piece of writing is to elucidate the connections between direct carving, absence and psychological states, through the theoretical approach of the above authors and the artistic production of Barbara Hepworth. Through this investigation I hope to enable a better understanding of the interplay between these subjects and the theoretical relevance of direct carving in art. In this text I consider how to read the psychological manifestations that occur in the sculptor's spaces of action, and how they integrate into critical debate about construction processes in art.